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Iranian Music Evening at Eesti Muusika- ja Teatriakadeemia

  • Writer: Arashk Azizi
    Arashk Azizi
  • Jun 9
  • 2 min read

When we think of contemporary classical music, our minds often immediately jump to Western orchestral or electronic instrumentation—or experimental textures made from unconventional sounds. But in the event of Iranian Music Evening at Eesti Muusika- ja Teatriakadeemia, the concert centered around a traditional Iranian instrument and gave us a compelling example of contemporary classical expression with deep cultural roots.

When we think of contemporary classical music, our minds often immediately jump to Western orchestral or electronic instrumentation—or experimental textures made from unconventional sounds. But in the event of Iranian Music Evening at Eesti Muusika- ja Teatriakadeemia, the concert centered around a traditional Iranian instrument and gave us a compelling example of contemporary classical expression with deep cultural roots.
Iranian Music Evening at Eesti Muusika- ja Teatriakadeemia

Instruments, Performers & Composers at the Iranian Music Evening at Eesti Muusika- ja Teatriakadeemia

  • Tanbur: A long-necked stringed instrument from Iran, known for its rich, resonant timbre and deep connection to Persian ritual and mysticism.

  • Daf: A large framed drum with jingles, traditionally used in Sufi music, offering both rhythm and spiritual texture.


Mirtohid Radfar showcased incredible mastery of both instruments, bridging the gap between tradition and innovation while Helia Sobhanian lent her voice in the final piece, delivering an evocative vocal performance that blended classical and folk aesthetics seamlessly.


The composers each brought their own cultural and stylistic sensibilities:

  • Alireza Farajian

  • Marc Luján

  • Ryan Adams

  • Xu Dong

They crafted works tailored for Radfar and his instruments, creating a rich mosaic of sound and style.


1. “Homage to Mirtohid” – Alireza Farajian

A true testament to Iranian musical ethos, this piece began by exploring the tonal possibilities of tanbur, transitioning it into a percussive instrument with a seven‑beat rhythmic structure. It combined vivid simplicity with layered complexity—melding delicate melodic passages with percussive exploration. The result: utterly mesmerizing.


2. “Silent Transmission” – Ryan Adams

This introspective piece delved into microtonal subtlety. Radfar’s use of foot‑tapping added sudden bursts of dynamic contrast, while quiet melodic lines floated in between. It felt like a delicate conversation—full of surprises and emotional ebbs and flows.


3. “X” – Xu Dong

Performed solely on the daf, this inventive piece had Radfar walking in a defined “X” pattern on stage while playing. This added movement turned percussion into performance art—creating a visually hypnotic and rhythmically captivating experience.


4. “Saeta errante” – Marc Luján (with Helia Sobhanian)

A dazzling fusion: flamenco-like harmonies with a free (almost improvised) vocality set not to guitar but to tanbur, with Persian lyrics sung by Sobhanian. This piece seamlessly wove classical form, folk color, flamenco flair, and contemporary experimentation. It felt timeless yet thoroughly modern.


Final Thoughts

Hearing alternative timbres in Tallinn—crafted by composers from diverse backgrounds and interpreted through traditional Iranian instruments—was deeply refreshing and inspiring. This concert affirmed that cultural traditions can be vibrant sources for contemporary classical creativity. I look forward to seeing more such cross-cultural collaborations on our stage.


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